I wish I had a new art piece to post every day or even every week. But making art is not an instant process. So instead of showing pictures of new work, in this blog I’ll tell you about my current work as it is unfolding right now in my studio.

Here is the start of a new piece: plywood. I just painted a sealer on it. Beginnings are hard, even just that much. I like to avoid beginnings. Instead I make lists, do errands, clean my studio, surf the web. But the drudgery and uncertainty I like to avoid in the beginning is no less a part of the creative process. So I begin. Choreographer Twyla Tharp writes, “If you’re at a dead end, take a deep breath, stamp your foot, and shout “Begin!”

I have a vision of what this piece will be in my mind, and I selected some green cloth from my trove to cover the wood. I envision this piece as a collage with a light green background, a landscape that is barren and shiny with textures made of cloth and gold thread. Small painted silhouettes of mule deer dot the scene, some hiding behind shrubs. The deer are painted and lacquered, black and white, positive and negative, present and absent. I won’t be able to fully translate these ideas into a tangible form. There is an airiness and movement to the piece in my mind that I’ll never achieve in a collage. I enjoy what my college design professor called this kind of beginning, this intention that would inevitably turn into something else: a point of departure.

While the image in my mind feels like the beginning of the piece, my mind started working on it long before I ever thought of making it. So where did this idea — these appearing and disappearing mule deer — come from? The deer came from Mesa Verde National Park, where my family and I camped for two days this summer. We were excited to see deer off to the side of the camp road on our first day there. Later we saw deer a couple of times more, clusters of three or six. On our second day there I stayed at our campsite for most of the day. I sat quietly and sketched. A buck wandered through our tent’s back yard. He didn’t see me at first. When he did, he froze. And when I turned to leave, he left too. Later I opened my mind and my peripheral vision to the whole scene, the whole campground, as I wandered through it towards the camp store looking for a cup of tea. I noticed that there were deer all over the grounds. When I became aware of the whole, I felt the slow churning of the place; mule deer wandering everywhere, some in the open and others hiding, slow motion, looking, watching.

A week later back in Lawrence I put a bit of that experience into my Sketchbook Project sketchbook. I remembered my family and the other campers at Mesa Verde watching the deer and photographing them, and the deer watching us back. Earlier this summer I also saw a deer that struck me, a lone deer running through my Lawrence neighborhood, confused. I made a collage about that experience, too. But unlike the deer in Lawrence, in Mesa Verde the campers were in the deer’s neighborhood and not the other way around. Or that’s how it seemed.

I have other pieces in the works in my studio that are at various stages of completion. One is a mosaic that lies on a table, ready to grout. I like taking pictures of my mosaics just after I’ve completed tiling them and just before grouting, with bits of broken dishes all around and my trusty red-handled tile nipper to the side. It is a familiar scene and I like the way the shards fall, a chance arrangement like wind shaping sand dunes.

And there’s more. Here’s another page from my Sketchbook Project sketchbook. I have been pasting newspaper clippings into my book as the news unfolds, with stories that strike me as significant in some way. Along with the clippings, I am creating relationships between spreads by drawing pictures of a paper boat in each, from different angles and perspectives. Drawing over the news becomes a response to it. This two-page spread includes a clipping about the mass shooting that occurred in Colorado this summer. I drew the boat at around midnight one night when I couldn’t sleep. The shooting in Colorado was horrifying and senseless. And yet to make sense of it I had to think about guns. Why must we have them? And so many? And yet so many think we must. [A second horrific shooting occurred this summer in Wisconsin a couple of weeks later.]

Here is another piece in progress. This is a background that I made to accompany my planned foreground, a wind chime caught in a violent gust. And yet the background doesn’t seem quite right for the foreground, nor does my plan for how to make the chime seem right anymore. So I don’t know what I’ll do to make it right. But I like the idea of it; a beautiful object transformed by the weather into something that is clanking like a warning bell. It accords with themes I’m exploring for my upcoming exhibit at Do’s Deluxe.

More projects: My sister-in-law mailed a set of broken dishes to me; toy dishes sent from a relative to her for my niece, which crashed to the floor in a freak accident. Could I make a mosaic with them? I have some ideas and sketchbook scribbles. And what else? I’ll make an illustration for a book of limericks for my college alma mater come November, focus on mosaics come spring, and soon teach a class on “field sketching” at the Lawrence Arts Center if I get enough enrollment.

What else? The mule deer piece is currently in idea form and I’ll soon start putting the pieces together to turn that idea into a collage. But I also have a work in progress that is on the verge of being an idea, another scratchboard piece in a small series about our “better angels.” I don’t know what the next piece will look like yet, but I have been visited by those angels in my sketchbook, so I suspect that a more tangible idea is soon to follow. But what comes before something is even almost an idea? Maybe experiences? I have experiences in the hopper too from the summer, captured in photos and journal-writing. There had been fires at Mesa Verde, and I was struck by the other-worldliness of the burned landscape against the sky. All of the barren landscapes that we drove through this summer, in Arizona, Utah and Wyoming, were hauntingly beautiful. We saw other fires too, active ones exacerbated by the drought, and the drought exacerbated by global warming.

There was a little bird at Mesa Verde that made quite an impression. It hopped around looking for bugs, shuffling the leaves with such gusto that it made quite a racket. At first I thought there was one bird doing this but I realized that it was a kind of bird and there were many. But I never saw more than one at a time. The bird had a dark head and tail feathers, tan on its sides, a white belly and speckled back. What was it — that earnest little bird?

Having new experiences, like seeing different birds or unfamiliar landscapes, makes creative work seem possible. Spending too much time in my studio makes me feel dull. And bored. And lonely. Getting out helps. But when travel isn’t possible (and it isn’t much of the time), I read. I just finished reading a book called Biggest Elvis. My brother recommended it. When I asked him what it was about he said, “It’s complicated.” The book is about three Elvis impersonators in the Philippines who work at a club where bar girls service in every way imaginable, servicemen affiliated with a nearby US Naval base. I took Biggest Elvis on vacation and it was good company because it provided images of beauty and desolation at the same time I was experiencing a similar contrast of beauty and desolation through the car window. The book raised moral questions about the characters it portrayed. But in the end they were almost too complex to judge. And that’s what struck me the most about this book. Biggest Elvis was about US imperialism, too, but again the portrayals were not simplistic.

I’m throwing Biggest Elvis out there as an example of one of many small but notable experiences to draw on in my work. I don’t know if I’ll ever draw on it in any kind of direct or meaningful way. But as Corita Kent and Jan Steward put it in their book Learning by Heart, “Everything is a source.”

Here are two new mosaics that I made, that will be on display and are for sale at the Strecker-Nelson Gallery in Manhattan, Kansas, from early November through December, 2011.

Each Mosaic, Winter Tree and From the Dark, includes many hours of work. I first created the basic concept and design for each, and then shaped the ceramic pieces to fit where I wanted them to go. The images change as I proceed, and I design each piece anew as each element is placed and new relationships are formed. I find the process to be a bit like putting together a puzzle that evolves as the creative process unfolds.

I made both mosaics from ceramic dishes that I found over time, mostly from thrift stores. Sometimes friends give me the remains of beloved dishes that were dropped or met some other dark fate, and I incorporate these, too. I stockpile dishes of particular colors that inspire me or that I know I’ll need eventually, especially black and white.

Each piece was inspired in part by the impending winter. I wanted to create a stark winter beauty in the piece Winter Tree. I have been thinking about the arch that appears in this piece for a long time. It is a personal symbol for everything that is here within, a bit like a rainbow but matter of fact and without the emotion. The other mosaic, From the Dark, is about illumination — the light that carries one through the dark — a dark winter or a dark time. The carrier of the light in this piece for me connotes fragility, yet the medium renders these papers boats rather solid. The boats were interesting shapes for me to work with.